Sunday, November 22, 2015

Carving Class, November 2015

Although I've been a woodworker for over 20 years, I have never learnt to carve! No shop I've worked in has even had a set of carving tools, so I really had no clue how to even start. This past week I took an amazing five day class that did get me started. Now I need to acquire that first set of carving tools–– and, well, they are not cheap. Here are some pictures of my first two attempts at carving wood, ever.

First project: acanthus leaf in mahogany. Lots of tricky grain direction to deal with!

 I got to pick the second project myself. I chose this draping piece of fabric. Basswood was way more forgiving.

The finished piece of "fabric."

Tuesday, June 16, 2015

The Knowledge

My department chair sent me this beautifully-written story about what has been described as "the hardest test in the world," the London taxi-drivers' exam. The story basically embodies what I aim to communicate in my own work: the prospect of epic and irreversible loss of human knowledge and human capacity when we prioritize economic utility over all else.
The Knowledge

Saturday, June 13, 2015

"Wall (After Marfa)" at Dallas Art Fair, April 2015

I installed this piece at the ADA Gallery booth at the Dallas Art Fair in April, 2015. A statement about the piece is here.

Process Pictures:

Amanda Brannon wedging epoxy

Troweling epoxy

One wall chunk done

Four wall chunks curing

Soaking out the bricks

Bricks still soaking...

Digging out the softened bricks

Wednesday, December 3, 2014

Scholastic Aptitude series at Untitled Miami 2014

I have work in ADA Gallery's booth at Untitled Contemporary Art Fair in Miami right now. One of my pieces appears in Hi Fructose today.

The three sculptures in the Scholastic Aptitude series are made from notebook and sketchbook paper that has been stack-cut, custom hole-punched a few pages at a time, and then painstakingly spiral-bound. Two of these pieces suggest mountainous terrain, while the third is a woven structure with spiral bindings serving as flexible hinges. Form and Content (Internal Logic) is inspired by the notion that a material object can be the “vessel” for meaning or the bearer of a theory. Notes taken in the conceptualization stage of the piece are used to build the physical piece. Among these notes are quotes from architect Christopher Alexander, art historian E.H. Gombrich, and others, on the nature of pattern and the role of "rules" in patternmaking. Additionally one of Sol LeWitt’s “Paragraphs on Conceptual Art” is transcribed. This is an absurd attempt to “overstuff” an object with meaning, resulting in an object that seems merely self-absorbed. The piece called Horror Vacui celebrates the moment in which the excitement of acquiring a pristine new sketchbook turns to intimidation. Application of a Theory acknowledges the often dubious connection between a form and its ostensible “message.” The piece might also suggest a child who has devised a labour-intensive way to avoid her written homework.

Form and Content (Internal Logic), 2014
15" x 21" x 10"
Object made of generative notes towards its own manufacture
College-ruled notebook paper, chipboard, aluminum binding coil, ink 


Horror Vacui, 2014
30" x 20" x 8.5"
Drawing paper, chipboard, wire binding, misc.

Horror Vacui, detail

Application of a Theory, 2014
17.25 x 17.25 x 1.25
Legal-ruled notebook paper, chipboard, aluminum binding coil

Wednesday, April 9, 2014

Sunday, April 6, 2014

Shannon Wright: Heroic Measures, at Mulherin + Pollard

Folly (Colosseum of Rome) 2, 2014
Archival dye-infused print on aluminum
27.7” x 37.4”
Folly (Colosseum of Rome) 1, 2014
Archival dye-infused print on aluminum
27.7” x 37.4”

Installation view: Folly (Colosseum of Rome), 2014
Galvanized steel pipe and fence hardware
88” x 141” x 116”
Installation view: Folly (Colosseum of Rome), 2014
Galvanized steel pipe and fence hardware
88” x 141” x 116”
Flourish (Public Art), 2014
Galvanized steel pipe, hardware, sandbags
65” x 96” x 20.5”

Flourish (Public Art) 1, 2014
Archival dye-infused print on aluminum
16” x 24”
Flourish (Public Art) 2, 2014
Archival dye-infused print on aluminum
16” x 24”

Historic Preservationist Series (Heavy Equipment Tires)
Four archival dye-infused prints on aluminum, 30” x 28”
with Brendan Coyle

Snaidhm Cheilteach (Celtic knot)
After Irish cable knit patterns

Gireh Chini (knotted/ interlaced pattern)

After stone tiles in the Sircali Medrese, Konya, Turkey, 1240 AD
Ice-Ray (cracked-ice pattern)
After Chinese window lattice patterns, Szechwan, 1850 AD
Parcham (Banner/flag pattern)
            After tiles in the Alcazar de Seville, Spain, 1364 AD

Contributors to these projects:

Brendan Coyle, Digital Artist
Ninh Filip
Pete Farrell III
Michael Farrell  


Sunday, February 2, 2014

Coliseum Installation Pictures

In January, 2014, I installed the piece called "Folly (Colosseum of Rome)" with the help of a few current and former graduate students: Nathan Cox, Chauncey Rasmussen, Biagio Scarpello, and Nin Filip (whose chief role was photo guru.)

Assembling the coliseum in its first location
Nathan Cox checking the quality of our eyeballed oval

Our "Brady Bunch" group photo with the assembled coliseum
This was the vantage point for the final selected photo. Camera lens and yoga mat  provided by Nin Filip.